I've been following this young band from Syracuse since their initial demo EP. Two years of endless touring have helped to fine tune their catalog of songs into genuine gems. Even tracks that previously surfaced on their self-titled EP like "Can You Tell" have been transformed here with stronger arrangements and an added emphasis on backing vocals from string player Alexandra Lawn (who compliments the lead vocals by Wes Miles perfectly on several cuts).
Ra Ra Riot have had some extreme ups and downs over the past few years, but every experience, good and bad, has given depth to their musicianship and helped to inform the spirit of this incredible debut. It's an impressive collection of songs and I look forward to following them for many years to come.
It has been an interesting phenomenon to see the emergence of the popularity of alternative instruments in the typical rock band format - not just as a novelty act, and mere ear candy like you get in studio albums and such - but alternative instruments becoming solid members of the band. For example, with groups like Arcade Fire, DeVotchka, Matt Pond PA, and the Decemberists, instruments like harps, violins, cellos, accordions, etc. are helping to expand on the archetypal rock sound.
A group out of Syracuse, NY, and contemporaries of the popular group Vampire Weekend, Ra Ra Riot is the newest Chamber Pop Rock group to hit the mainstream market. The upstate New York Quintet recently released their first full length album 'The Rhumb Line' on August 19, 2008 to a generally welcoming reception. The album is full of nautical and dark themes such as death and water, but never gets too bogged down in depression, and has some light upbeat moments to help balance out the album.
I personally have to admit that I'm a sucker for groups which incorporate strings into their ranks, and as for Ra Ra Riot, the co-ed band has a cellist (Alexandra Lawn) and violinist (Rebecca Zeller). This supplementation adds a darker, more lush layer of sound to the group, which proves to be their secret weapon to their success. The song 'Too Too Too Fast' on the album strangely enough doesn't feature Rebecca or Alexandra playing prominently, and proves to be the dullest, and weakest track on the album. Without the prominence of the strings, the track begins to sound like a poor 80's covers, laden too thick with synthesizers to help cover up the lack of the strings.
One of my personal favorite tracks on the album is the song 'Ghost Under Rocks', which begins with a moody cello and bass line which helps introduce the album. The Chorus embodies the nautical death theme prevalent on the album with the lyrics:
"Here you are you are breathing life into
Ghosts under rocks like notes found
In pocket coats of your fathers
Lost and forgotten
All all all your soaking wet dreams
You've spent them
You have gone and dreamt them
Dry, now you ask your babies why, why, why"
The song was actually on the bands EP which they released before the death of their old drummer John Ryan Pike (who co-wrote a majority of the songs on the Rhumb Line Album.)The eerie thing about this track is that it seems to foreshadow the recent tragic death of John Ryan Pike who was found drowned early last summer after a show in Providence, Rhode Island. Even after the death of a founding member of the group, Ra Ra Riot soldiered on.
Other tracks such as "Each Year" (with images of cemetery flowers) 'Winter 05,' and 'Dying is Fine' continue the darker motifs of the album. Dying is Fine, (the first single promoted for the album), pulls some of its lyrics from the e.e.cummings poem by the same name - and even though it appears macabre, it never falls too much into darker pessimism, and remains pretty optisimistic with the strings being upbeat and the lead singer Wes Miles vocals gently singing the lyrics.
Winter 05' written by the groups new lead vocalist Wes Miles is regal and has a tinge of 'Eleanor Rigby' in it as the violin and cello compose a wonderful baroque melody. Once again, the music helps disguise the darker meaning of the lyrics:
'If you were here/Winter wouldn't pass quite so slow/And if you were here/Then i'd have a choice to live not be alone/But instead I sit atop the crest/Looking down on the valley where the dead rest/And every morning I wake beside myself'
The lighter tracks on the album, like 'Can you Tell','St. Peter's Day Festival', 'Oh, La', 'Suspended in Gaffa' (Kate Bush cover) are a nice change of pace from the deeper songs of the album. The song St. Peter's Day Festival has a similar drive and beat like Vampire Weekend's M79, and this proves to be one of the shortcomings of Ra Ra Riot- they are too overshadowed by Vampire Weekend's previous success, and their lead singer Wes Miles, sounds way too much like Ezra Koenig of Vampire Weekend.
To sum up- Ra Ra Riots album is a nice little gem of chamber pop melodies - their supplementation of the strings in their arrangements helps set the band apart from other Indie Rock groups. Song wise, the album never becomes too dark or too bright and poppy to make it feel unbalanced - however I would be worried about this group becoming too 80's synthesizer, discotheque driven like their tracks (Too Too Too Fast, and 'Can You Tell' {Epochs Remix}) in future albums they put out.
~Andrew Joslyn
http://dbjoslyn.blogspot.com/
The death of a loved one does strange things to rock musicians. You can either end up with schlock like "Tell Laura I Love Her" or the magnificence that is The Rhumb Line. The absence of founding member/drummer John Pike informs every note, but this isn't downer funereal music. It's good rock and roll. The prescient "Dying Is Easy" has a deceptively happy backbeat over lyrics that ponder the meaning of it all: "Is this it/maundering about and/all I have is too much to/to understand/one can only love/life until its ending." While that song is on a lot of "best song of 2008" lists, my favorite track is a tight race between the mature romantic longing of "Can You Tell" and the truly gorgeous "Winter '05." I don't know if the latter was written before or after the death of John Pike, but for my money, it's the best requiem for a lost friend since The Pretenders "Back on the Chain." One of the wonderful things about this album and about Ra Ra Riot as a band is the seamless blending guitar, bass, violin, and cello. Too often, bands will add strings to a song or two as an enhancement. Ra Ra Riot uses each instrument completely, with the strings adding nice counterpart to songs like "Suspended in Gaffa." Clearly, I've grown quite fond of this album in a very short time. Ra Ra Riot is frequently compared to Vampire Weekend--they both have the same East Coast/Ivy League feel, but Vampire Weekend is freshman year--fun, innocent, and naïve, while Ra Ra Riot is senior year--more substantive, more complex, tinged with regret and loss, yes, but also full of great promise.
The Rhumb Line (2008, Barsuk) Ra Ra Riot's first studio album. ****
The tragic death of drummer John Pike in 2007 didn't detract Ra Ra Riot at all. If anything, it pushed them on, almost forcing them to stay on course with a goal they all agreed on; to make beautiful music. The Rhumb Line is mixed with tributes to Pike, but instead of sounding depressive and mournful, they sound inspired. It is clear that the band feels things will never be the same, but they don't make the audience pay for something they can't understand. It starts off with "Ghost Under Rocks," a galloping introduction. The Rhumb Line is full of string arrangements (actually played by band members, imagine that!) and energy, bordering on the cusp of something I can only describe as proto-classical rock. Make sense? Didn't think so. Let me explain:
The Rhumb Line and Neon Bible used strings extensively, and since they could so easily be transposed into classical arrangements - especially "Winter 05," which is almost a classical piece on its own - that they push the boundaries of alternative rock and chamber pop, possibly further into something completely new. Maybe?
If Ra Ra Riot has any shortcomings, it's that their energy isn't always engaging. It doesn't tire, but sometimes a slower moment would be welcome. I unfairly compare The Rhumb Line with Neon Bible (because I do so unfavorably) in pointing out the balance that Neon Bible had. The title track was perfect after the sonic blast of "Keep the Car Running." And while the first three cuts of The Rhumb Line are then thankfully mellowed by the sleigh bells of "Winter 05," the tempo speeds up again for "Dying is Fine" and never again backs down. It doesn't hinder the album horribly. They're so damn good at writing genuinely good hooks that if they ever learned the value of pace, they'd already catapult themselves among today's best artists. But don't fear, Ra Ra Riot have already placed themselves as one of the most exciting and most promising breakthrough bands of the year. (Ghost Under Rocks, Dying is Fine, Oh, La)
The melding of classical and alternative rock comes together in this first Ra Ra Riot album. There are similarities to the Vampire Weekend in terms of vocals but the classical instrumentation sets Ra Ra Riot apart. This album is actually a stronger debut than VW's first effort. I look forward to newer offerings by this great band.
